This is a guest post by Orin Hargraves, an independent lexicographer, language researcher, and past president of the Dictionary Society of North America. Orin is the author of several language reference books, including It’s Been Said Before: A Guide to the Use and Abuse of Clichés (Oxford) and Slang Rules!: A Practical Guide for English Learners (Merriam-Webster).
A few years ago I wrote about how collocations in fiction skew the statistics of collocations in a corpus because of their extremely frequent use; Ben Zimmer expanded on the idea in a later New York Times piece. In summary, the point is that a number of collocations would not be statistically significant were it not for their appearance in fiction. This is because writers of fiction—particularly writers of the amateur, unedited fiction that appears online—tend to reuse the same tropes and phrases so much that these effectively become clichés, formulaic ways of expressing the same (rather tired) ideas and events.
All of that came to light when I was working with the Oxford English Corpus, a well balanced and carefully curated corpus that, at the time, had about two billion words of English. These days I’m working with the enTenTen13 corpus, a web-crawled corpus of nearly 20 billion words, owned and made available by Sketch Engine. Sketch Engine’s web-crawler roves the Internet indiscriminately, pulling text from wherever it can be found. Like some grandmother aghast in Greenville, the web-crawler regularly comes upon sites with pornographic content. The difference between the grandmother and the web-crawler is that while she may avert her gaze in shock and dismay, the web-crawler grabs the text, parses and tags it, and adds it to the corpus. The result is that enTenTen13 houses a steaming, pulsating trove of pornographic writing.
The British police drama Broadchurch can be gritty, uncompromising and bleak, but rarely sweary. Despite the grim events that rock the small coastal town, whole episodes pass without any strong language other than the occasional expletive shit or bloody hell. By the time that Cath Atwood gets coarse in S03E05, it’s because her husband and best friend’s affair has truly fucked her up:
When dance-lord Michael Flatley said he would perform at Donald Trump’s inauguration ball in January, someone cheekily redirected colossalbellend.com to Flatley’s website. (It now points to Trump’s Twitter page.) Reporting on the story, the Guardiannoted: ‘Bellend is a British insult.’
Helpful, but short on detail. Just what kind of insult is bell-end? What does it mean, and how is it used? Where did it come from, and when, and why? And what’s bell end brie?
Last October, when the Trump/Pussygate story broke, I said it would “go down in history as a watershed moment in public profanity.” Now, six months into the Trump administration, we’ve come to another banner day for profanity, as the New Yorker‘s Ryan Lizza reports on a remarkable conversation with Anthony Scaramucci, aka the Mooch, Trump’s incoming communications director. Scaramucci unloaded on White House chief of staff Reince Priebus, with a side order of profanity devoted to Trump’s chief strategist Steve Bannon. And news outlets all over the world are reporting on it.
It’s the Year of the Cock. No, no, not that Year of the Cock, when TIME named Donald Trump its 2016 Person of the Year. Today marks Lunar New Year, and for many of its Chinese celebrants, 2017 is the Year of the Rooster – or, if we’re not so prudish, Cock. But what’s all this cockeyed rooster/cock cockamamie about, anyway?